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JOGO DE MANDINGA

G ME OF SORCERY

SECRET HISTORIES AND BODILY PRACTICE

IN CAPOEIRA ANGOLA

THE GAME-DANCE-FIGHT FROM BAHIA, BRAZIL

A T esis Proposa

resented in Partial Fulfillment of the Requirements for

the Degree Master of Arts in the

Graduate School of The Ohio State University

y

dward Luna Brough, B.A.

*****

The Ohio State University

5

Masters Examination Committee

Dr. Candace Feck

Professor Melanie Bales, Advisor

Dr. S ie a Marion, Resource A visor

pprove y

A visor, Department o Dance

College of the Arts


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INTRODUCTION

Capoeira (kah-PWEH-dah) is a unique intertextual practice that brings together as-

pects of fighting, dancing, playing, music, and ritual. As one of the most visible signs of

Brazils deep African heritage, capoeira is also a living cultural archive, encompassing over

500 years o istory, myt o ogy, ritua , s avery, pro i ition, resistance, an surviva .

Since t e eginning o its ecrimina ization in t e 1930s, capoeira as a so ecome

the national sport of Brazila jogo bonito (beautiful game) second in popularity only

to football soccer. In more recent decades, capoeira has even emerged as a global phenom-

enonc ampione as a ig ting orm equiva ent to ot er martia arts, a reat ess s ow

or tourists an t eater au iences, an a source o inspiration or c oreograp ers, rea

ancers, Ho ywoo action eroes, itness gurus, an vi eo game c aracters T us, a cu -

tural form practiced primarily by marginalized, lower class Brazilians of African descent

has managed to transcend the boundaries of race, culture, and country to offer the world a

ascinating way to p ay t roug t e i icu ties an oppressions o every ay i e.

STATEMENT OF THE PROBLEM

The practice of capoeira dates back at least to the 18th-century colonial era in Brazil,

and perhaps hundreds of years earlier, to a practice of dance-fighting found in West Central

A rica. Because it as een passe own rom one practitioner to anot er, o ten un er con-

itions o secrecy, ew outsi ers ave a access to t e secrets o capoeira unti re ative y

recent y (c. 1940). As a resu t, its istory is ri e wit comp exities an contra ictions

that are only just beginning to be unraveled.

Major problems haunt researchers of capoeira in this regard. First, there is the rela-

tive scarcity an unre ia i ity o ar istorica an et nograp ic ocumentation a out

A rican an s ave cu ture t roug out t e perio o t e At antic s ave tra e.1 T is is ue in


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part to et nocentrism on t e part o European ocumentors, as we as t e e i erate e-

struction o ocumentation y t e Brazi ian government in t e 19t century.3 T e i icu ty

extends to doing field research in todays West Central Africa, where the historically impor-

tant slave-trading areas now known as Angola and the Democratic Republic of Congo have

su ere vi e civi wars an mass isp acements o peop e in recent years. Furt ermore, t e

notorious y eterogeneous an o ten secretive nature o present- ay capoeira cu ture itse

ma es it i icu t (not to mention po itica y exp osive) to i erentiate o er tra itions rom

newer innovations or stylistic hybrids.

S IG NIFIC NCE OF THE PROBLEM

espite t ese serious stum ing oc s, capoe ra as attracte t e interest o a wi e

range of researchers in various fields The inherently multidisciplinary nature of the form

bringing together movement, music, ritual, and individual resourcefulness into one prac-

ticehas already led to examinations of the form informed by cultural anthropology, ath-

etic pe agogy, Latin American an A rican istory, per ormance stu ies, martia arts, an

Brazi ian et nomusico ogy, among ot ers.

For scholars of dance or movement studies, however, the most important source of

information about capoeira is the movement itself. Yet this is precisely the area which has

been almost totally neglected by current scholarship. Because of this I believe it is essential,

as we as time y, to un erta e suc a stu y. W i e suc wor must reasona y ocus on t e

contemporary practice o capoeira (w ic is argua y a reenactment o an ear ier prac-

tice) I believe that an in-depth examination of capoeira movements from the point of view

of bodily history may offer us important glimpses into the long-forgotten past and at the

same time speak to the current situation of Afro-Brazilians themselves.

T is researc may a so a ow sc o ars to gain a eeper un erstan ing a out ow


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an A rican (or A ricanist) movement orm wou ave een uti ize to comment on an /or

resist t e institution o s avery. An ecause capoeira s ares a istory o o i y oppression

and resistance with other African diasporic forms (including Afro-Cuban dance, jazz dance

in the U.S., and other Brazilian forms such as the samba), it may also offer new perspectives

on t e experiences o t e A rican iaspora in t e Americas in genera .

tu ying capoeira may even o er a new way to consi er t e o y itse as a ric

source o istorica , pe agogica , ynamic, inest etic, an cognitive in ormation. Wit

its inherent deceptions, surprises, layers of meaning, and physical demands on the body,

capoeira may come to be appreciated as a well rounded approach to health, survival, and

ong i e (as evi ence y t e num er o capoeira estres masterspracticing we into

t eir 70s an 80s).4

Such investigations are also likely to shed light on the vitality of the practice of

capoeira outside of Brazil: in the academies and universities of North America, Europe, and

Asia, where capoeira has flourished, and where its future may lie.

PURPOSE OF THE STUDY This thesis is intended as a preliminary, and evolving effort to a) bring together some

of the hard facts of historical research on capoeira and related forms, while placing a

certain faith in the oraland bodilyhistory of capoeira as learned through my own

researc , training, an teac ing in t e orm. T is t esis may a so serve as pre iminary at-

tempt to ) ocument an ana yze t e teac ings an movements o capoeira or uture

researchers, as a complement to traditional instruction by a living capoeira mestre, not a

replacement.

Additionally, it is hoped that by speaking from within the practice, capoeira may be

seen as a tra ition wort y o preservation, an o continuing re evance.


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ASSUMPTIONS AND LIMITATIONS

This work will focus almost exclusively on the traditional form of capoeira, known

as capoeira angola, as it has been transmitted to me by my teacher, Mestre Caboquinho.

Mestre Caboquinho (b. Jos Dantas, 1964) is a native of Bahia, Brazil, who currently lives in

Detroit, Mic igan. He is one o t e oremost proponents o tra itiona capoeira ango a out-

si e o Ba ia. In accor ance wit is own teac ing p i osop y, I am approac ing capoeira

angola as a tradition in its own terms: not a modernized version of a traditional practice,

but a direct descendant and living representation of a traditional practice.

T e most o vious imitation o t is approac is my own status as a re ative eginner

in t e orm. In capoeira ango a, t e giving o ran s an tit es is o ten a ong an comp icat-

e process t at must i ea y e presi e over y a community o mestres. So, in t e writing

of this thesis, I have taken on an unusually high level of responsibility which, in some eyes,

may be seen as presumptuous and premature.6 My awareness of this dilemma has neces-

sitate t e raming o t is t esis as a pre iminary an evo ving e ort. At t e same time,

Mestre Ca oquin o e ieves t at un er is gui ance, e as prepare me to wor we

wit in t e tra ition o capoeira ango a As suc , e as ac now e ge t e egitimacy

of my research, as well as my leadership of a satellite group of his organization, the Tribo

Afro-Bahiana de Capoeira Angola Tradicional (T.A.B.C.A.T.), and my continued teaching

o an intro uctory capoeira course at T e O io State University Department o Dance.

As a sc o ar y pursuit, owever, it may e as e w et er it is even possi e to c aim

an aut entic tra ition o capoeira. In ee , among most capoeira practitioners t em-

selves (and a majority of scholars), it is generally accepted that many of the traditions of

capoeira have been lost, rediscovered, and reinvented throughout the years, especially since

t e 1960s. In ot er wor s, capoeira as suppose y a apte to its surroun ings, an

evo ve t roug time, as any movement sty e passe in orma y rom in ivi ua to in i-


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vi ua is i e y to o.7

et, w i e it may seem reasona e to ac now e ge t at t e capoeira per orme in

todays academies is somewhat different from the street rodas of Rio de Janeiro, Recife, and

Bahia in the 1860s, or the earlier dance-fights of Africa,8 it is also true that the notion of a

cont nu ty o o i y istory as remaine arge y una resse . In ot er wor s, instea

o imiting my attention to w at as c ange in t e practice o capoeira, t is t esis wi

a so try to ocus on what has probably stayed the same. s a matter o ait , t en, I wi

often write from the view that, despite some changes on the surface, the core principles of

capoeira have survived relatively intact.

Wit regar to t e pro ematic use o t e wor ait in a wor o sc o ars ip,

s a simp y ac now e ge, or now, t at it is my ait in t e tra itions o capoeira ango a

that has allowed me to access some of its deeper truths, and to gain the [always provisional]

trust of my own estre, without whom this work would be irrevocably diminished.)

R EV IE W OF R EL T ED L IT ER T UR E

s a rea y note , capoeira as in recent years attracte stu ents an sc o ars rom a

variety of academic disciplines. While this has led to a mini-boom of articles and books

on the subject, the number of scholarly writings on capoeira (especially in English) has

remained relatively small. This may be attributed in part to the fact that the sources of aca-

emic an istorica now e ge a out capoeira are a so re ative y scarce. As state ear ier,

researc into t e istorica recor o capoeira is ri e wit i icu ties. Moreover, e ore

the 1930s, capoeira was considered a criminal activity unworthy of attention or serious

research (a stigma that remains prevalent even today).9 Because of this, older scholars of

Brazilian and capoeira historynotably, early 20th century writers such as Manuel Queri-

no, E ison Carneiro, an Art ur Ramos ave genera y re ie on t e same set o primary


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materia s: consisting o a ew tourist accounts, romantic pu p nove s, po ice an mi itary

recor s, an t e rare et nograp ic morse rom t e 1800s. T ey o ten turne towar s et -

nographic research on their own, investigating the capoeira of their own time and making

forays into the oral histoy of Afro-Brazilian culture. These descriptions provided intrigu-

ing g impses into Ba ian capoeira at t e turn o t e 20t century. However, ecause t ey

were not practitioners, t eir accounts are o imite va ue to ay. Ot ers, suc as t e Rio e

Janeiro aut or o a 1907 gui e to capoeira training, even pu is e anonymous y, so as to

avoid legal attention during the long prohibition of the form from 1890c. 1940.

With the exception of a few other manuals of capoeira practice, very little additional

sc o ars ip was ma e avai a e unti t e pu ication o Wa e oir Regos Capoeira Ango a:

ensaio scio-etnogr ico (1968), a 400-page vo ume co ecting a wi e range o materia s

from Bahia, primarily songs and etymologies. Even so, almost twenty years would elapse

before anyone else attempted to follow this work up more thoroughly. While a handful of

historians such as Muniz Sodr, Robert Farris Thompson, and us Csar de Souza Tava-

res pu is e essays an re ate tracts in t e 1980s, most rea i y avai a e writings a out

capoeira pu is e a ter 1968 ave een ypractitioners wit a mixe eve o aca emic

experience.

Students of the famed Mestre Bimba, father of the modernized form of capoeira re-

gional, have dominated the discussion thus far. Works by these students, including Jair

Moura (1980), Mestre Itapoan (1992), Ange o Augusto Decnio Fi o (various), an Mestre

Acor eon (1986), a ong wit ot er nota e oo s y Nestor Capoeira (1995) an estre

Bola Sete (1989), have mostly documented personal experiences, the teachings of their own

mestres, or the recollections of other old estres.

Since 1990s, however, another generation of scholarsincluding more from the U.S.

(an even some o t e ear ier writers suc as Nestor Capoeira, w o as since gaine an aca-


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emic tit e) ave ta en on t e more am itious tas o uncovering t e istory o capoeira

t roug more rigorous arc iva , istorica , p enomeno ogica , ant ropo ogica , socio-po-

litical, and even theological research. Authors such as Carlos Eugnio Lbano Soares (1994,

2002), Antnio Liberac Cardoso Simes Pires (2002), Greg Downey (1998, 2005), Letcia

Vi or e Sousa Reis (1997), J. Lowe Lewis (1992), T. J. Desc -O i (2000, 2004), Augusto

Janurio Passos a Si va (2003), an F oy Merre (2005) ave great y expan e t e scope

an ept o t e iterature o capoeira.

Of these, Desch-Obi and Soares are the most thorough. In his Ph.D. dissertation

(2000) Desch-Obi provides a very convincing argument about the transmission of African

oot- ig ting tec niques to Brazi , w i e Soares (in A Negrega a Instituio, 1994, an

capoeira escrava, 2002) as pore t roug po ice an mi itary recor s on t ree continents

to provide a very detailed record of capoeira in 19th-century Rio de Janeiro, encompassing

nearly 1000 pages thus far. Soares recent move to Bahia suggests he may move onto the

history of Bahian capoeira next.

Yet even suc towering wor s o sc o ars ip ave one itt e to escri e, et a one

ana yze, t e movements o capoeira t emse ves. T is astonis ing act ca s attention to t e

scarcity of research into what is seemingly the most important aspect of capoeira: the move-

ment. The only authors who have thus far attempted any kind of preliminary analysis of

capoeira movements have been J. Lowell Lewis (1992), who interspersed his highly detailed

semiotic ana ysis wit terms cu e rom La an Movement Ana ysis (LMA) an Dance

Dynamics; an Greg Downey (1998, 2005), w o as examine capoeira movements rom

a phenomenological viewpoint. Still, the movements of the form have yet to be thoroughly

investigated as a primary source of data in a work of serious academic scholarship. This

thesis will attempt to partially address an unfortunate lack.


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METHODOLOGY

DESIGN OF THE STUDY

This thesis will be structured in two sections. In Section One, I will focus on histori-

ca issues, suc as an out ine o Brazi s ear y istory, an an examination o various A ri-

can, rura , ur an, an recent in uences on t e orm. I s a attempt to incorporate istori-

cal, contemporary, and oral sources in this effort.

Section Two will focus on the movements ofcapoeira angola using observational

an inest etic tec niques ase primari y on t e ramewor o La an Movement Ana -

ys s. T is section wi ocus on E ort Qua ities, Bo y/S ape, Space Design, an Dance

Dynamics, an wi a so inc u e an as-yet-un etermine num er o examp es o capoeira

movements and sequences written in Labanotation, designed to provide future scholars

with a glance into the forms overall characteristics, strategies, and performance style These

examp es may a so serve as t e eginning o a more t oroug ocumentation o t e orm.

An appen ix on t e music an instruments o capoeira ango a, wit some t oug ts

a out t e ia ogue etween music an movement, wi a so e inc u e .

PROCEDURES

In exp oring t e centra t emes o t is t esis, I ave come a out my ypot eses y

com ining e uctive an in uctive researc proce ures. For examp e, at times, I ave ap-

proac e capoeira wit a speci ic i ea a out its unction t roug out istory (i.e., capoeira

as a martial art), and have pursued material that would support this idea. At other times, I

have tried to examine capoeira from its own discourse, allowing its philosophies and move-

ments to in orm my ana ysis. Muc o t is iscourse as een ascertaine rom my own

conversations wit estres an e ow stu ents, as we as t e experience o ta ing c ass an


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per orming capoeira in a wi e variety o situations myse .

n reconstructing a meaning u narrative a out t e istory o capoeira, I ave trie a

similar approach: combining (often contradictory) ritten, photographic, oral, anecdotal,

sartorial, pedagogical, and bodily sources into a cohesive whole. In this, I have at times al-

owe myse to engage in specu ative istory, in or er to un erstan ot erwise inacces-

si e psyc o ogica aspects o t e orm. W i e t is proce ure cannot in an o itse provi e

veri ia e ata in t e tra itiona researc sense, I e ieve it as een a va ua e too , per aps

similar to the exobiologists use of imagination to describe possible (but unprovable) condi-

tions for the evolution of alien life forms.

position as a sc o ar, practitioner, an even teac er o t e orm as a so o ere

me an inva ua e, insi ers point o view to t is orm, w ic argua y o sets any potentia

dangers of the speculative approach. As a practitioner who has fully given himself over

to the traditions, logic, and philosophy ofcapoeira angola, I have been given unprecedented

access to the secrets of the form. In ethnographic terms, this would be described as a reflex-

ive et nograp y, permeate y my own persona in ings an experiences.

SOURCES OF DATA

For the historical section of the thesis, I have drawn primarily from the major texts

on capoeira, as well as a few lesser known sources (see Bibliography). I have also relied on

secon ary sources at T e O io State University to provi e a more genera context a out t e

A rican experience in Brazi . Speci ic researc was a so con ucte at t e c om urg

Center for Research in Black Culture in Harlem. Unfortunately, academic research in Bahia

was limited to the Biblioteca Central dos arris in Bahia, due to a strike of university library

workers.

I ave a so re ie eavi y on a num er o internet sites, some o w ic contain quite


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extensive in ormation, o ten inc u ing: trans ations o primary texts, transcriptions o an /

or essays on istorica texts, co ections o persona researc , an critiques o current sc o -

arship. Capoeira internet forums have also been a useful way of crosschecking certain in-

formation; they also offer a window into current, worldwide conversations about capoeira,

rom eginners trying to c ear up misconceptions, to ongtime practitioners arguing a out

t e un amenta issues o capoeira istory.

As mig t e expecte , owever, my most important resource ( or movement, as we

as oral history) has been my mestre and teacher, Mestre Caboquinho. As of this writing

(January, 2005), I have studied with Mestre Caboquinho for two and a half years, and also

joine is organization or a ive wee stay in Sa va or, Ba ia (August, 2004). In Ba ia, I

a t e opportunity to train, per orm, an researc capoeira wit mem ers o T.A.B.C.A.T.

and on my own. Since 2001, I have also participated and observed at the New York City

academy of Mestre Joo Grande, a Bahian now in his 70s, who is considered the foremost

representative of the older lineage ofcapoeira angola in the U.S.

T e ot er source o ata is my own teac ing o t e orm at T e O io State Uni-

versity, w ic as invo ve severa quarters wort o 10-wee c asses t roug t e Depart-

ment of Dance, as well as nearly four years of leading a capoeira group (now an official

T.A.B.C.A.T. satellite) in Columbus Through these experiences, I have had the unique op-

portunity of transmitting capoeira to new students in the midst of learning it myself.

T is as e to some misrepresentations, miscommunications, an con usions (es-

pecia y wit my own mestre), ut t e process o sorting t roug t ese pro ems as a so

yielded a number of interesting discoveries (including new pedagogical tools, and better

understanding my role as estre or leader of a capoeira group as well as questions (such

as the relevancy of a traditional but ambiguous form to a more modern and literal-

min e Nort American au ience).


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DATA COLLECTION METHODS

Aca emic materia s oo s, artic es, texts, etc.as we as internet materia s ave

already largely been compiled. These may be further honed and sorted as the thesis pro-

gresses. As a number of materials are written in Portuguese (at which I am an acceptable

rea er), some trans ations or t e ene it o t e rea er may t ere ore e require .

My c assroom experiences wit Mestre Ca oquin o (an ot ers) as een compi e

y means o extensive c ass notes an occasiona p otograp s an recor ings.

My teaching experiences, discoveries, and questions have been collected by means

of teaching notes, personal anecdotes, student assignments, questionnaires, take-home ex-

aminations. I may a so con uct a num er o interviews wit current an ormer stu ents to

c ari y any questions.

DESCRIPTION OF DATA-GATHERING INSTRUMENTS

Most of the written materials have been collected by means of standard research

met o s suc as extensive i rary an we searc es. C ass an ot er ive cu tura materi-

a s (primari y in Ba ia) ave een gat ere y means o a Mini isc recor er, vi eotape, an

digital still photography.

However, because transmission of the form is so dependent on physical demonstra-

tion (and because most estres are uncomfortable with the use of recording devices, for

reasons w ic I ope to a equate y convey), my own musc e memory (ai e y writ-

tennotes an reco ections) wi o ten serve as my primary instrument. In using t ese

reflexive ethnographic methods of data gathering, from my own personal experience, and

the memory of struggling and sweating with the movements and philosophies ofcapoeira

angola, it is hoped that this thesis may be an appropriate addition to the nascent field of

capoeira stu ies.


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NOTES

1. Chike Aniakor is more optimistic about the number of materials available: . . . there are indeed

materials which can aid early dance studies in spite of their severe limitations in terms of the tendency for

cultural-prejudicial interpretations. . . Chike Aniakor, Early Written Sources on African Dances from the

Seventeenth Century to 1915, in The Spirits Dance in Africa: Evolution, Transformation and Continuity in

Sub-Sahara. Esther A Dagan, ed. Montreal: Galerie Amrad African Arts Publications, 1997. p. 56.

2. Aniakor (ibid.) refers to Adam Jones and Beatrix Heintzes assertion that . . . few academic histo-

rians of Africawhether African or non-Africanwould seriously deny that our knowledge of sub-Saharan

Africa (taken as a whole) between the fifteenth and ninetheenth centuries (the period for which oral tradition

is of most relevance) must and always will rest principally (though by no means exclusively) on European

sources. They also add that in many cases the quantitiy of the materials is offset by its unreliability. p.

56.

3. In 1890, Ruy Barboso, then Finance Minister of Brazil, ordered the burning of all government

documentation about slavery. See Edison Carneiro, Antologia do negro brasileiro. Rio de Janeiro: Edies de

Ouro, 1967. p. 89. In more recent years there has been some doubt as to how much of the material was actu-

ally destroyed.

4. For example, at this writing (Jan 2005), Joo Pequeno is about 88 years old, Joo Grande is about

72, Boca Rica is about 67. Mestre Curi, himself about 70 years old, claims his father still plays capoeira in

his 100s (!).

5. In the days before capoeira academies (c. 1920), the title of mestre was given informally and lib-

erally, not only to capoeira practitioners but as a respectful title (similar to the informal use of Don and

Doa in Spanish). However, while the title ofmes re is still used as an honorary, informal one, and con-

tinues to be bestowed upon older capoeira practitioners, it is incredibly difficult to gain the title officially.

A number of prominent mes res ofcapoeira angola in fact, were never given their title by any recognized

body. This remains a source of quiet controvery in the world ofcapoeira angola which prides itself on being

different from more contemporary styles of capoeira, in which the position ofmestre has often been severely

devalued.


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6. I estimate that the average time it takes to become a mestre in capoeira angola is approximately 20

years. The intermediate titles such as trenel(trainer) and con ra-mes re (half or assistant mes re) may take ap-

proximately 35 years and 810 years to obtain, respectively. As I have only been training for approximately

4 years (but only 2 1/2 with my mes re) I might qualify as an intermediate beginner.

7. Bira Almeida (Mestre Acordeon) is one of the more prominent advocates of what might be called

the adaptive view of capoeira. An excellent online essay entitled Capoeira: An Introductory History

is permeated by this idea, summed up unequivocally by the assertion that capoeira has undergone many

changes throughout the times. When I posed this to Mestre Caboquinho, he dismissed the notion, saying

that capoieira doesnt change. In his view, the core principles of capoeira are in and of themselves adaptable

enough to survive in different contexts without changing. It is worth noting here that, in his own academy,

Acordon has gone against a number of practices taught by his own mestre (Mestre Bimba), including the use

of belt rankings. See Bira Almeida, Capoeira: an Introductory History, , 1996.

8. Indeed, Acordeon has made the reasonable (Western) assertion that we cannot reconstruct the

capoeira of even 100 years ago. See Capoeiragem na Bahia Dir. Jos Umberto. IRDEB/TVE, Bahia, Bra-

zil, 2000.

9. Nearly all of the Brazilian Dictionaries I have consulted have identified capoeira with criminal-

ity, even into the 1970s. Even today, middle-class Brazilians look at capoeira with disdain. A member of our

group who revealed his devotion to capoeira to a 20-something ladyfriend in Bahia was immediately chastized

for not being serious.


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BIBLIOGRAPHY

SELECTED PRIMARY SOURCES

Abreu, Frede. O Barrao do mestre Waldemar. Salvador, Bahia: Organizao Zarabatana,

2003.

A Capoeira e Sin ozin o. Dec. 2004 < ttp://ro ermanny.tripo .com/>.

A mei a, Bira. Capoeira: A Brazi ian Art Form: History, P i osop y, an Practice. er e ey,

California: North Atlantic Books, 1986.

Browning, Barbara. Headspin. Samba: Resistance in Motion. Bloomington and India-

napolis: Indiana UP, 1995.

Capoeira a Ba ia. Ange o Augusto Decnio Fi o, E . < ttp://p aneta.terra.com. r/

esporte/capoeira a a ia/>.

Capoeira do Brasil. Brazil: .

Capoeira Ginga Ngo. France: .

Capoeira, Nestor. Capoeira: Roots of the Dance-Fight-Game. erkeley, California: North

At antic Boo s, 2002.

-------------. T e Litt e Capoeira Boo . Revise e . Ber e ey, Ca i ornia: Nort

Atlantic Books, 2003.

Debret, Jean Baptiste. Viagem Pitoresca e Histrica ao Brasil. So Paulo: Biblioteca

Histrica BrasileiraMEC, 1975.

Desc -O i, T omas J. Engo o: Com at Tra itions in A rican an A rican Diaspora

story. P . D. T esis UCLA, 2000. Ann Ar or: UMI, 2001.

Downey, Greg. Incorporating Capoeira: Phenomenology of a Movement Discipline.

Doctoral dissertation, U of Chicago, 1998.

Freyer, Peter. Rhythms of Resistance: African Musical heritage in Brazil. Hanover, NH:

Wes eyan UP, 2000.


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Karasc , Mary C. S ave i e in Rio e Janeiro, 1808-1850. r nceton, . .: r nceton

, 7.

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etnomusicolgicas So Paulo: Global Editora, 1978.

Ku i , Ger ar . Ango an traits in B ac music, games an ances o Brazi : a stu y o

A rican cu tura extensions overseas. Lis oa: Junta e Investigaes Cient icas o

U tramar, 1979.

Lewis, J. Lowell. Ring of Liberation: Deceptive Discourse in Brazilian Capoeira. Chicago:

The U of Chicago P, 1992.

Mattoso, Ktia M. e Queirs. o be a s ave in Brazi , 1550-1888. rans. Art ur

Go ammer; orewor y Stuart Sc wartz. New Brunswic , N.J.: Rutgers UP, 1987.

Mestre Bola Sete. A Capoeira Angola na Bahia. 4th ed. Rio de Janeiro: Pallas, 2003.

Pires, Antnio Liberac Cardoso Simes. Bimba, Pastinha e Besouro de Mangang: Trs

personagens da capoeira baiana. Tocantins: Fundao U de Tocantins, 2002.

Powe, E war L. Dance Martia Arts o t e Americas Ma ison, WI: Dan Ai i

Pu ications, 2002.

Rego, Waldeloir. Capoeira Angola: Ensaio Scio-Etnogrfico. Salvador, Bahia: ditora

Itapu, 1968.

Reis, Letcia Vidor de Sousa. O mundo de pernas para o ar, a capoeira no Brasil So

Pau o: E . Pu is er Brasi , 1997.

Rugen as, Joo Maurcio. iagem itoresca atrav s o Brasi . So Pau o: Livraria

Martins Editora S.A., 1954.

Silva, Augusto Janurio Passos da. A Capoura e a Arte da Capueragem: Ensaio Socio-

etimolgico. Salvador, BA: Fundao Gregrio de Mattos, 2003.


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LUNA 16

Soares, Car os Eugnio L ano. A capoeira escrava e outras tra ies rebe es no

Rio e Janeiro (18081850). Campinas, So Pau o: E itora Unicamp, 2002.

-------------------------------------------. A negregada instituio: os capoeiras na Corte Imperial,

18501890. Rio de Janeiro, RJ: Access Editora, 1999.

e ra, u z enato. O jogo a capoeira: corpo e cu tura popu ar no Brasi . Rio e Janeiro,

: pr nt, .

SELECTED SECONDARY SOURCES

Carneiro, Edison. Candombles Da Bahia, 2a. ed., revista e ampliada, com 14 desenhos de

Cary e. Rio e Janeiro: E itoria An es, 1964.

Nis i a, Mie o. S avery an I entity Et nicity, Gen er, an Race in Sa va or, Brazi ,

. Bloomington and Indianapolis: Indiana UP, 2003.

Mendes, Luiz Antnio de Oliveira, Memria a Respeito dos Escravos e Trfico

da Escravatura entre a Costa dfrica e o Brazil. Memoria Apresentada Real

Aca emia as Cincias e Lis oa, 1793, 2 e ., Porto: Pu icaes Escorpio, 1977.

Ramos, Art ur. O negro na civi izao brasi eira. Rio e Janeiro: Livraria-E itra a Casa

do Estudante do Brasil, 1971.

Reis, Joo Jos. Slave Rebellion in Brazil: The Muslim Uprising of 1835 in Bahia.

altimore and London: The Johns Hopkins UP, 1993.

Ro rigues, Nina. Os A ricanos no brasi . So Pau o: Compan ia E itora Naciona , 1976.

weet, ames . ecreating A rica: Cu ture, Kins ip, an Re igion in t e Portuguese

World, 14411770. Chapel Hill of North Carolina P, 2003.


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LUNA 17

VIDEO

Capoeiragem in Bahia. VHS video. Dir. Jos Umberto. IRDEB/TVE, Bahia, Brazil,

2000.

Capoeira Angola do Mundo. DVD. Capoeira Angola Center of Mestre Joo Grande,

, .

O Pu o o Gato DVD. Feat. Mestre Joo Gran e & Mestre Joo Pequeno. Capoeira

Angola Center of Mestre Joo Grande, NYC, 2002.

Pastinha! Uma Vida pela Capoeira. VHS video. Dir. Antonio Carlos Muricy. 1999.

brough, el - jogo de mandinga.pdf

Documents